This mildly fascinating documentary focuses on the events that led to the famous football game when between Harvard Crimson and Yale Bulldogs way back in November 23rd, 1968. The crimson football players were the underdog team that wasn’t expected to play such an amazing impressive game against the superior Bulldogs. Director Kevin Rafferty interviews many of the players from both teams, including Tommy Lee Jones of the Harvard Crimson, who give detailed accounts of that important football game. Jones even goes on a brief, humorous tangent when he talks about his college roommate. A different football player had even gone out with Meryl Streep at that time. Unfortunately, the cinematography comes across as a bit distracting and awkward at times when the camera cuts off the interviewees’ face so that a portion of it appears out-of-frame. Those unfamiliar with the sport of football will be slightly bored and wonder the overarching question, “So what?” However, avid football fans will certainly be quite engaged by watching the footage of the game and by listening to the players analyze the game with so much vividness, passion and enthusiasm, as if recollecting one of the greatest moments in their lifetime. Number of times I checked my watch: 3. Released by Kino International. Opens at the Film Forum.

In Dutch with subtitles. Martin (Marcel Musters) and his ex-wife, Roos (Elsie de Brauw), meet at restaurants where they discuss their troubled, reclusive son (Stijn Koomen), who connects with a samurai sword more than he does with anyone around him. None of the dialogue by writer/director Mijke de Jong actually functions as a way to move the plot forward; it functions merely as a slice-of-life, almost like in the “mumblecore” genre except without so much talking. The real dramatic tension occurs subtly during the silent moments, so it’s very important to play close attention to small details such as facial expressions and posture. De Jong also shows skill with her cinematography which includes medium shots of Roos’ rebellious son, but closer, warmer shots of Martin and Roos together. Admittedly, the excessive use of close-up shots eventually feels uncomfortably awkward and pretentious. With interesting choices of set design, lighting and the balanced structure of the thin narrative with a similar beginning and end shot, Stages manages to be an intelligent, low-key drama that occasionally drags and becomes quite demanding. However, truly patient and perceptive audience members will find it to be at least mildly engaging and absorbing to watch. Number of times I checked my watch: 3. Released by Lemming Film. Opens at the Film Forum.

This mildly fascinating documentary focuses on the election campaigns of four high school student who compete for student union president. Hanna Frieman, a perfectionist who has lead the cheerleading and dance squads at the school along with acting in school plays and in Todd Solondz’ Palindromes. She shows off her enthusiasm for winning quite openly. Michael Zaytsev, has a lot of popularity, especially among the ladies for his good looks, but he’s also known for having a huge ego. Alex Leonard is a tall athlete who plays basketball, but lacks experience in school politics. Finally, there’s George Zisiadis, who has a lot of experience in school politics and works diligently at everything. Although his attitude is more relaxed than Hanna Frieman’s, he goes to the extent of setting up a lounge with a curtain in his locker area to speak to student reporters. Among the four candidates, only George and Hanna seem to be taking their campaigns with seriousness and critical thinking. It would have been much more insightful and provocative had director Caroline Suh went beyond merely showing the candidates’ experiences as they campaign. More personal interviews with each candidate would have helped you to grasp what their political visions/ideas are specifically and to figure out who comes closest to Governer Palin in terms of stupid, inarticulate responses. That would have also heightened the documentary’s dramatic element so that you’d be able to latch onto a candidate’s ideas rather than just the image that they project. What are their thoughts about George W. Bush and former presidents, for that matter? While Frontrunners manages to be timely and has flashes of provocative moments, its lack of insight and intrigue feels like a missed opportunity to truly explore the political mindset of this generation. . Number of times I checked my watch: 3. Released by Oscilloscope Pictures. Opens at the Film Forum.

One Two (Gerard Butler) and his buddy, Mumbles (Idris Elba), gets involved in the world of gang violence when he gets a loan from a smarmy crime boss, Lenny (Tom Wilkinson), who has a hidden agenda. The plot becomes increasingly complex and twisted as One Two meets Stella (Thandie Newton) and steals a precious painting that gets him into serious trouble. Although there are plenty of action sequences to be found here along with stylish cinematography, the thrills that one expects to come along with such a film seem to be missing. Too much of what happens onscreen feels like more of the same, like a lazy, tedious version of Lock, Stock and Two Smoking Barrels or Snatch, also written/directed by Guy Ritchie. He knows how to cast the right actors for the appropriate roles, especially Tom Wilkinson who really sinks his teeth into the role of a vicious mobster. What about adding some comic relief, though? There’s a mildly funny sex scene, though, that takes place with very fast paced, wildly imaginative editing which helps to briefly invigorate an otherwise tired and underwhelming action/crime film. Ultimately, RocknRolla has too much style and not enough substance, imagination or surprises to justify its excessive running time of 114 minutes. Number of times I checked my watch: 5. Released by Warner Bros.

This initially provocative, yet incomplete documentary imagines what the Vietnam War would have been like had President John F. Kennedy had not been assassinated. Through plenty of archival footage, it’s quite clear that JFK did everything in his power to avoid going to war with other countries, i.e. Cuba, Russia and Vietnam. In other words, he didn’t cave in to the pressures of his advisors no matter how many times they tried to convince him to start a war. How many times does the audience have to get pounded over the head that JFK avoided war, though? Director Koji Masutani includes a lot of evidence to support his thesis, but there’s not enough analysis of the all the facts and, worst of all, the conclusion comes across as very weak and unsurprising. Also, he designates too little time to extrapolate what the events would be like after Kennedy’s assassination, so that section of the film seems incomplete and a bit rushed. Perhaps Masutani should have sharpened/expanded his thesis to make search for the conclusion much more complex and revealing. Virtual JFK: Vietnam if Kennedy Had Lived tackles a compelling and timely subject matter, especially given that we’re in an election year, but, at a running time of only 80 minutes, it ultimately lacks any new insights and feels underwhelming and incomplete. Number of times I checked my watch: 4. Released by Global Media Project and Sven Kahn Films. Opens at the Film Forum.

In Hindi and English with subtitles. In Goa, India, Venkatesh (Venkatesh Chavan), an 18-year-old housekeeper at a hotel, goes around town with his best friend, Jahangir (Jahangir Badshah), selling plastic bags. When Venkatesh spies on a wealthy man (Nana Patekar) who tends to his garden and, mysteriously, never swims in his pool, he decides to meet the man and ends up working as his gardener. Soon enough, Venkatesh befriends the man’s rebellious daughter, Ayesha (Ayesha Mohan). Each actor essentially gives an understated performance that feels utterly believable. The real achievement here, though, goes to director/co-writer Chris Smith’s organic screenplay that breathes life not only into every character, but into every scene as well. He does a masterful job of telling a simple story that has brief, unforced moments of complexity and poignancy. One of the most simple, yet powerful moments occurs when the wealthy man says to Vekatesh that the most powerful weapon is the tongue, not a gun. The film has many other small, yet captivating moments that stay with you. On top of that cinematography looks lush, colorful and picturesque while the well-chosen musical score compliments the scenes. The Pool manages to be a refreshingly wise, understated and very human drama full of warmth and tenderness. Most impressively, it holds your attention and keeps you absorbed without resorting to any clichés, contrivance, or pretentions from start to finish. Number of times I checked my watch: 0. Released by Vitagraph Films. Opens at the Film Forum.

When studio executives threaten to shut down the production of “Tropic Thunder”, the director (Steve Coogan) strands the five stars of the film, Tugg Speedman (Ben Stiller), Jeff 'Fats' Portnoy (Jack Black), Kirk Lazarus (Robert Downey, Jr.), Alpa Chino (Brandon T. Jackson) and Kevin Sandusky (Jay Baruchel), in a jungle hoping to get enough footage to keep the production alive. None of the jokes or visual gags will be spoiled here, but it’s worth noting that Robert Downey, Jr., performing in blackface, often steals the show with his terrific comic timing. The only other scene-stealer is the smarmy, chubby studio executive played by a barely recognizable Tom Cruise. Unfortunately, director/co-writer Ben Stiller fails to keep the comic momentum flowing continuously and, instead, opts for too much recycled humor that tends to get old pretty fast. At least the actors seem to be having a great time onscreen and give off plenty of energy and chemistry together that keeps you mildly engaged. If you have an open mind for outrageous, silly, offensive and gross-out humor, you’ll tolerate most of the film, especially the fake trailers for the actors of the film-within-the-film. Everyone else will feel mostly underwhelmed and wishing there were a smarter and funnier screenplay for the talented actors. Number of times I checked my watch: 3. Released by Paramount Pictures.

Jack (Andrew Garfield), an ex-con recently released on parole from prison, comes to terms with his troubled past as he starts a new life in Manchester. His caseworker, Terry (Peter Mullan), supervises his parole and becomes like a father figure to him. Meanwhile, Jack develops a romance with a young woman, Michelle (Katie Lyons). Although much of what happens throughout the plot lacks surprises and feels a bit emotionally draining, what saves the film from being stuck in mediocrity is Andrew Garfield’s heartfelt, utterly convincing performance as Jack. The audience already knows that Jack has done something terrible in his past. Writer/director John Crowley wisely exposes the particular details of those past events gradually through flashbacks. What happens to Jack as his past comes back to haunt him feels very real because you’re able to grasp what’s going on in his mind. Even the gritty cinematography allows you immerse yourself in the story while the quiet, somber moments help you to care about Jack as a complex human being. He’s not simply bad nor is he good; he’s somewhere in the middle. Boy A explores these gray areas with just the right amount sensitivity, intensity and raw tenderness to keep you thoroughly absorbed and engaged. Number of times I checked my watch: 0. Released by The Weinstein Company. Opens at the Film Forum.

This underwhelming documentary focuses on the U.S. Military’s simulation of an Iraqi village in the Mojave Desert in California. Real Iraqi women pretend to be innocent civilians under pressure from soldiers who take over their village. There’s also simulated bombings and gunfire along with a medical response team for the victims. The soldiers also learn how to greet Iraqis in Arabic. Co-directors Tony Gerber and Jesse Moss opt to including more show than tell, even though much of what you observe demands analysis and exploration. Watching the many different forms of simulations eventually becomes tedious and lacks the surprise factor that it initially brought. It’s essentially a lazy cop out that directors choose to place so much burden on the audience to come up with their own interpretations of what they see and hear. What about including some intriguing, provocative interviews that get into the heart of the matter and to answer very basic questions like, “So what?”. Compared to many other recent documentaries about the U.S. Military, Full Battle Rattle doesn’t add up to enough beans to be insightful, shocking or powerful. Number of times I checked my watch: 4. Released by The Film Sales Company. Opens at the Film Forum.

This fascinating, wildly entertaining documentary features the nature found in and around Antarctica’s McMurdo station, where only a 100 people live and spend their time studying their environment. The frozen, white landscape along with the surrounding buildings makes it all seem like it’s located on the moon, far from civilization. Surprisingly, the community does have a yoga center and an ATM for all of its scientists and researchers. Director Werner Herzog manages to take the mundane qualities of the Antarctic and make them quite offbeat, funny and strangely beautiful. Even the scientists who initially seem to lead boring lives, actually have a lot of interesting anecdotes to talk about regarding their many eccentricities and observations. For example, one individual spends leisure time, entertains crowds by contorting her body into a piece of luggage. Another person discusses how he gave up a life of banking to become a driver of the Ivan the Terra Bus—wittily, Herzog asks him if he were a taxi driver in the past. There’s also plenty of stunning visuals of the Antarctic nature, ranging from the icebergs to the pristine underwater life. If you ever wondered whether penguins might be gay or insane, now’s your chance to find out. Werner Herzog captures the shear beauty of the Antarctic landscape and notes how cathedral-like the images of the ice look from under water. No words can truly describe the feeling of watching G_d’s many wonders, especially in such a remote area. Wisely, Herzog points to the threat of global warming, but without being preachy—the existence of plants enshrined in a frozen structure for preservation speaks for itself. From start to finish, Encounters at the End of the World never ceased to amaze with many witty observations and breathtaking images that remind you that G_d is a true artist when it comes to nature. Number of times I checked my watch: 0. Released by THINKfilm. Opens at the Film Forum.

This mildly engaging, yet mostly dull documentary focuses on the life of artist/political activist Derek Jarman. After attending art school in London during the 60s, he found the innate strength to become a true artist. In the 70s and 80s, he wrote and directed unconventional, experimental films such as Caravaggio, Sabastiane and Edward II. When he learned that he was HIV positive, he had the courage to admit it to the public. That was around the time that Margaret Thatcher, a.k.a. “The Iron Lady”, ruled the United Kingdom as prime minister who also belonged to the Conservative party. He became a political activist and, at age of 52, died of AIDS. Director Isaac Julien blends lots of footage of Derek Jarman from an early 90s interview which allows Derek to explain his life in his own words. Unfortunately, none of the interviews have enough intrigue or insight to keep you truly engaged. Footage of his good friend, Tilda Swinton, walking down the streets of London and occasionally narrating doesn’t add much and feels distracting from the overall momentum of the film. With more insight Derek Jarman (i.e. from an art historian) and more synthesis of all , Derek could have been as compelling, provocative and well-rounded as the recent documentaries about artists Dreams with Sharp Teeth and Glass: A Portrait of Philip in Twelve Parts. Number of times I checked my watch: 5. Released by The Film Sales Company. Opens at MoMA.

In 1957, Indiana Jones (Harrison Ford) hunts for a mysterious Crystal Skull along with ancient buried treasure. Irina Spalko (Cate Blanchett), meanwhile, leads a group of Soviets who also want to find the skull and treasure, so she tries to force Indiana to give her his expert advice. Soon enough, Mutt (Shia LeBeouf) joins Indiana on his quest. The first hour of the plot has a terrific balance of humor, action, suspense and wittiness. Once Indiana and Mutt head to Peru on their adventure, the tone suddenly becomes a bit silly rather than humorous. At least still plenty of exciting, thrilling action to spare and, moreover, Indiana has a great quirky chemistry with Mutt. None of the plot’s details will be spoiled here, but it does get slightly convoluted and drags a bit in the middle of the second act. Fortunately, Director Steven Spielberg includes plenty of awe-inspiring scenery and CGI effects along with dazzling action sequences. None of them are particularly realistic and the more you think about them, the more ludicrous they become, but, then again, action adventures aren’t always meant to be true-to-life. Indiana Jones and the Kingdom of the Crystal Skull ultimately succeeds as an escapist, forgettable thrill ride and nothing more, as long as you’re willing to check your brain at the door and to suspend your disbelief for 2 hours. Number of times I checked my watch: 1. Released by Paramount Pictures.

Ramirez (Elliot Ruiz) leads a platoon of U.S. Marines on a mission in Haditha, Iraq to retaliate a roadside bomb that killed one marine and left two others wounded. The Marines killed twenty-four Iraqis, including children, during the retaliation. Although the intense drama initially unfolds from the perspective of the Marines, it soon moves to the point of view of the insurgents who plant the roadside bomb. Then there are also scenes showing how an Iraqi family and other civilians react to all the events going on— it’s particularly infuriating how the U.S. Marines use aggressive force whenever invading their homes to hunt for potential terrorists. By observing the events from different perspectives, you’re immediately provoked into thinking about who’s truly good and who’s truly evil while, concurrently, the line between the two becomes more and more blurry. Writer/director Nick Broomfield uses the effects of cinéma-vérité to hook you into the film as if it were all happening before your eyes like in a documentary. The utterly convincing performances from the entire cast, especially Elliot Ruiz, also helps to make it all seem very real. Fortunately, Broomfield doesn’t resort to preachy dialogue to convey his message that war is hell and, more importantly, that the U.S. government has been deceiving its own soldiers, as well as the public, that there’s a justified reason to go into war with Iraq. It’s quite maddening and sad the way that the mainstream media in the U.S. reports the events in an untrue, unethical way that paints the U.S. as the “good guy”. Meanwhile, the Marines, who are essentially the U.S. government’s puppets, become the scapegoats for all the unjust violence as if they were the criminals. For that matter, what or who defines just violence as opposed to unjust violence? Most importantly, how can our own government deceive us about the truths of war and where the blame for its consequences should truly go to? Thanks to powerful, honest and eye-opening documentaries such as Battle for Haditha, the government can't always get away with lying/manipulating/deceiving the intelligent members of the public. That doesn't mean they won't continue to lie to us, though, as long as ignorant citizens and other sheep who take everything for granted continue to find a voice in this "democratic" country. Number of times I checked my watch: 0. Released by Hanway Films. Opens at the Film Forum.

In Romanian with subtitles. Ovidiu (Alexandru Papadopol) accepts a job as a courier for Mr. Ivanov (Razvan Vasilescu) and embarks on a road trip at 10 AM with his friend, Vali (Dragos Bucur) and Vali’s girlfriend, Betty (Iona Flora), to deliver six mysterious boxes from Constanta to Bucharest by 2 PM sharp. Throughout the trip, the three young adults either bicker with one another or talk a lot and say very little. The only real dramatic tension occurs briefly when a red jeep follows them and, after they pull over on the road, the driver smashes their window and tries to hurt them before they escape. Writer/director Cristi Puiu, who also wrote and directed The Death of Mr.Lazarescu a few years after this directorial debut, has a knack for including dialogue that flows organically, which heightens the realism. Just because scenes feel realistic doesn’t mean they’re entertaining to watch, though. Unfortunately, not much stuff happens to hold your interest here. Too many scenes drag while the characters remain bland and poorly developed. A more imaginative screenplay with sharper dialogue would have helped to keep you thoroughly engaged rather than mostly bored by the lack of sufficient dramatic tension or any kind of tension for that matter. Number of times I checked my watch: 8. Released by Mitropoulos Films. Opens at the Film Forum.

In Russian with subtitles. Alexandra (Galina Vishnevskaya) visits her grandson, Denis (Vasily Shevtsov) at his army base where she struggles to adapt to the new environment. She observes many things about the base, as if she were an inspector, such as how they all live in filth without showering enough, the miserable heat and awful stenches. It’s clearly hard for her to find an oasis to rest her mind until she goes out to the marketplace to buy groceries and meets Malika (Raisa Gichaeva), a similarly warm and kind elderly woman who invites her into her home. Writer/director Aleksandr Sokurov takes his time to move the plot gradually and organically without any contrivances or over-the-top performances. What’s amazing is that even though there’s no real enemy in sight, there’s a sense of dream looming above all those soldiers as if something bad will happen eventually. Aleksandr Sokurov might as well have filmed the army base scenes in black-and-white given his use of washed-out colors which appropriately accentuates the starkness of the setting. By the time Alexandra is over, you will never want to set foot in such an almost horrifyingly bleak army base. Number of times I checked my watch: 1. Entertainment Value: Moderately High. Spiritual Value: Moderate. Released by The Cinema Guild. Opens at the Film Forum.

In a small Arkansas town, three unnamed brothers, Son (Michael Shannon), Boy (Douglas Ligon) and Kid (Barlow Jacobs), attend the funeral of their father who they all resent. When Son curses out his father and spits on his grave, it sets a chain of events that leads to a fight between them and their half-brothers, especially Mark (Travis Smith). What could have been an intense, gripping, character-driven film instead feels rather tedious and unimaginative with a sluggish pace that often drags. Raw performances by Michael Shannon, Barlow Jacobs and Travis Smith help to enliven up the plot a bit, but not enough to keep you truly engaged by the sluggish-moving plot. Writer/director Jeff Nichols does a decent job of creating a laidback atmosphere that highlights the quaintness of the small town, which seems like a character of its own. Scenes of silence, though, don’t always translate into something intrinsically deeper—here it just feels vapid and boring. It would have been helpful if Nichols had included some comic relief to counter the monotonous, serious tone as well as more organic dialogue to breathe some life into the dull characters. Number of times I checked my watch: 9. Entertainment Value: Low. Spiritual Value: Low. Released by International Film Circuit. Opens at the IFC Center.

This documentary focuses on the behind-the-scenes experiences of Meat Loaf throughout his 2007 world tour promoting the music DVD “Bat Out of Hell III” for 18 months. Meat Loaf comes across as a neurotic and stubborn person, often ignoring his voice coach’s advice to get some sleep and not yell before a concert. His critics complain that his duet with a 28-year-old co-singer, Aspen Miller, while rubbing up against her makes him look like a creepy pedophile, but both Meat Loaf and Aspen Miller claim it’s not meant to be taken seriously. Director Bruce David Klein does a decent job of documenting what he does to prepare for concerts and how he reacts to them afterward. He wisely avoids excessive concert footage to focus more on Meat Load rather than his music. However, avid fans of Meat Loaf will feel slightly underwhelmed because Klein fails to include enough revelatory insight about Meat Loaf that gets into how his mind truly works. More interviews would have helped, especially after the 2007 world tour when he probably had more time to sit down and talk. Keep an eye out for a brief cameo by Dennis Quaid, a good friend of Meat Loaf who also knows how to rock on with a guitar. Number of times I checked my watch: 3. Entertainment Value: Highly Moderate. Spiritual Value: Moderate. Released by Voom HD Pictures, Atlas Media Corp., and 10th Street Entertainment. Opens at the IFC Center.

In Mandarin with subtitles. Bai (Huang Lu), a college student, travels to a small village in northern China where De Gui (Yang Youan) forces her to either become his bride or pay a hefty amount of money which he paid for her. She repeatedly tries to escape through the surrounding mountains to try to return home to her father. When De Gui physically abuses Bai, it’s easy to hate him and, in turn, feel sorry for Bai. On the other hand, a young man (He Yunle) she meets at the village comes across sweet, kind and romantic. Her desperation to find freedom feels quite palpable from start to finish. Writer/director Li Yang does a great of creating a sense of stark realism throughout and moves the pace slowly so that you gradually absorb all the surroundings and get to know the characters without any contrivances. The location of the small village itself seems like a character given its remoteness from the rest of civilization—mountains surround the village all around as if trapping it and nearest big town is much more than just a walk away. Fortunately, a grounded performance by newcomer Huang Lu as Bai allows you to be totally immersed by the emotionally stirring and occasionally gripping drama that unfolds. At a running time of 102 minutes, Blind Mountain never overstays it welcome. Number of times I checked my watch: 0. Entertainment Value: High. Spiritual Value: Moderately High. Released by Kino International. Opens at the Film Forum.

This documentary, about six blind Tibetan teenagers who find the courage to climb up a 23,000 ft. mountain, feels thoroughly captivating and awe-inspiring from start to finish. The teens belong to a school for the blind run by Sabriye Tenberken, who manages to convince Erik Weihenmayer, a blind man who had successfully climbed Mt.Everest, as a leader to guide them up Lhakpa Ri, the mountain adjacent to Mt.Everest. It’s amazing to watch as they trek out under freezing temperatures while climbing the steep, treacherous mountain. Director Lucy Walker includes breathtaking scenery along the way and, wisely, allows for some poignant scenes as you get to know the blind teenagers, such as one who reunites with his father after many years. Sabriye and Erik have very thought-provoking arguments about how far to push these blind climbers and whether or not to turn back. Some interviews with the teenage climbers as they go up the mountain would have been interesting rather than merely observing them with the camera. Blindsight ultimately highlights the power of courage, tenacity and hope in following whatever dreams you have in life. In turn, you’ll feel better about who you are as a person and, perhaps, find a purpose to your life which will make it feel truly fulfilled. Number of times I checked my watch: 0. Entertainment Value: High. Spiritual Value: High. Released by Robson Entertainment. Opens at the IFC Center.

12-year-old Alejandro (Alejandro Polanco) and his 16-year-old sister, Isamar (Isamar Gonzales) struggle to make a living together in Willet’s Point, a.k.a. the slums of Queens, New York near Shea Stadium. They both dream of refurbishing a dilapidated food truck to sell tacos in while Alejandro works at a “chop shop”, an auto repair shop that uses stolen car parts. The drama between Alejandro and his sister somewhat escalates when he discovers what she really does when she goes out at night. Each actor hasn’t had experience acting in a film before, yet they’re all surprisingly convincing in their roles—in fact, the chop shop owner, Rob, is played by a realchop shop owner, Rob Sowulski. The setting of Willet’s Point becomes a character in itself, full of small details that make it seem like an uncivilized part of the world with lots of mud, filth, hard labor and poverty all around. Writer/director Ramin Bahrani has a knack for creating absorbing slices-of-life that flow like cinema verité. Like with his last film, Man Push Cart, he wisely keeps many scenes understated without preachiness so that you become entranced by the film once you gradually get used to its characters, surroundings and small interactions which underscore a longing to escape poverty and to just survive the many hardships of daily life. Number of times I checked my watch: 0. Entertainment Value: High. Spiritual Value: High. Released by Koch Lorber Films. Opens at the Film Forum.

Ezra (Mamoudu Turay Kamara), an African teen, is forced to join rebel militants as a child and kills entire villages including his own parents. Seven years later, he confronts his troubled past in front of the Truth and Reconciliation Commission. His sister (Mariame N’Diaye) whose tongue was chopped off by rebels, recalls what she witnessed him doing during the attacks. Throughout Ezra’s experiences, he falls in love with Miriam (Mamusu Kallon), although two lack real chemistry together. Mamoudu Turay Kamara gives a decent performance in an otherwise by-the-numbers film that has brief moments of intensity, but lacks an emotional pull. Co-writer/director Newton I. Aduaka awkwardly blends in the courtroom scenes involving the Truth and Reconciliation Commission with flashbacks from Ezra’s experiences. It would have been sufficient to focus more attention on getting into the psyche of Ezra rather than on his actions, which are quite disturbing to watch. There’s simply not enough insight from Ezra’s point-of-view to allow you to feel truly engrossed by his important story. Number of times I checked my watch: 3. Entertainment Value: Moderate. Spiritual Value: Moderate. Released by California Newsreel. Opens at the Film Forum.

When Mason (Joel David Moore), a lonely telemarketer, starts losing his mind when he befriends Amber (Amber Tamblyn), an upbeat employee at his job. His boss and so-called friend, Berkeley (Zachary Levi), only makes him feel even more disconnected to the real world. Joel David Moore, who can also be seen in The Hottie & the Nottie, has a much more interesting and complex role here and handles it quite convincingly without going over-the-top in his performance.Co-directors Adam Green and Joel David Moore do an impressive job of creating a hypnotic, somewhat chilling atmosphere through lighting, set design and sound effects which effectively parallel Mason’s descent into insanity. The tension truly builds once Amber discovers that he’s hiding something very disturbing in his desk drawers. The romantic relationship between them, though, feels a bit contrived and some scenes feel confusing even after the twisty, surprising third act. Number of times I checked my watch: 2. Entertainment Value: Moderately High. Spiritual Value: None is required or desired. Released by Anchor Bay Entertainment. Opens at Landmark Sunshine Cinema. DVD Release Date: February 19th, 2008.

In Spanish, Catalan and German with subtitles. This semi-documentary incorporates the music of Bach through visuals and small narratives to show its timelessness. A truck driver delivers a piano while listening to Bach music and trying to convince his coworker to appreciate Bach. In another narrative, a tour guide discusses Bach in relation to St. Thomas’ church. Director Pere Portabella’s decision not to be too informative about Bach makes this documentary a bit dull and tedious. At times, it feel like you’re watching Into Great Silence given the excruciatingly slow pace and some scenes that lack sound whatsoever, such as the opening scene. Unlike the recent documentary In Search of Mozart, there’s no narrator here to guide you along nor does anyone provide any interesting insights about Bach. So, unless you’re an avid fan of Bach and already familiar with his history, you’ll be underwhelmed and bored by The Silence Before Bach. Number of times I checked my watch: 8. Entertainment Value: Low. Spiritual Value: Low. Released by First Run Features. Opens at Cinema Village.

Durell (Ice Cube) and LeeJohn (Morgan) try to rob a church and gradually befriend some members of the congregation while holding them hostage. The church happens to have a broken air conditioner and it’s up to Durell to save them from all their excessive heat suffering. Katt Williams adds brief comic relief as a very quirky choir director. The talented Loretta Devine plays a member of the congregation who also warms up to her hostage-takers. Only the deacon (Michael Beach) can’t stand the criminals and he may or may not be involved in a crime of his own. Writer/director David E. Talbert fails to generate any believable scenes or real laughs throughout the tedious, stale plot. Much of it feels like an unimaginative, inane and irritating Tyler Perry movie that tries too hard to be funny and heartfelt, but falls flat on its face more often than not. It also boasts one of the most ludicrous, silly courtroom scenes ever filmed—a big insult to anyone’s intelligence. Number of times I checked my watch: 9. Entertainment Value: Low. Spiritual Value: Low. Released by Screen Gems.

Three lazy waiters, Larry the Cucumber (voice of Mike Phil Vischer), Mr. Lunt (voice of Phil Vischer) and Pa Grape (voice of Mike Nawrocki) find a magic ball sends them to the 17th Century where they must rescue a princess’ brother from an evil pirate. Only avid fans of VeggieTales will be able to overlook the silly, juvenile plot filled with singing and hopping vegetables and subpar CGI effects (similar to the effects in Doogal). The brief nods to other films like Pirates of the Caribbean help to keep older viewers mildly engaged. Does it sound appealing for anyone over the age of 10 to watch viscous cheese curls attacks a bunch of vegetables? Maybe if this were a crazy midnight B-movie, it might turn out to be fun. It all feels simple and harmless like a Saturday morning cartoon. Number of times I checked my watch: 8 Entertainment Value: Moderate. Spiritual Value: None is required or desired. Released by Universal Pictures.

This often moving and informative documentary, produced by Ricki Lake, follows the experiences of Cara Muhlhaun, a midwife who encourages her women to give birth in their home rather than the hospital. Doctors in hospitals lack the experience to properly deal with women in labor and they too often rush the procedure through harmful drugs. Director Abby Epstein, who gives birth during the film as well, does a terrific job of showing the importance of having a midwife before, during and after labor rather than going to the hospital and getting treated with less care to your health and to your baby’s health. A hospital doctor even admits that most doctors prefer to get home early, so they’ll do anything to get the baby out of its mother as quickly as possible. However, life is precious and shouldn’t be gambled on drugs—especially, on cesarean sections which have lots of negative physical and psychological effects. The footage of women giving natural births at home looks much easier to watch than the ones in the hospital, where the use of drugs brings the contractions closer together which leads to much more pain. If you ever thought that midwives lack the proper medical equipment to assist with births, think again. Not only do they make the experience a more memorable and comfortable one, but it’s surprisingly much cheaper than just letting a hospital staff take care of you. Number of times I checked my watch: 0 Entertainment Value: High. Spiritual Value: High. Released by International Film Circuit and Red Envelope Entertainment. Opens at the IFC Center.

In Korean with subtitles. Seung-woo kim plays a man who ends up in a love triangle between two women whom he meets at the beach. Although the characters are somewhat believable and the dialogue feels natural, the plot itself doesn’t have enough imagination to compensate for its lengthy running time of 2 hours and 7 minutes. Brief comic relief helps to enliven the film a bit, but the second act drags too much—it’s as if writer/director Hong Sang-soo is so in love with his characters, he feels the need to just show more scenes with them. Unfortunately, he’s alone in that feeling because the characters seem boring and bland throughout the tedious film. Entertainment Value: Moderate. Spiritual Value: Low. Released by New Yorker Films. Opens at the Film Forum.

In 1980, Mark David Chapman (Jonas Ball) travels from Honolulu to New York City in order to assassinate John Lennon. What follows is pretty much a by-the-numbers plot, regardless of whether or not you’re an avid John Lennon fan. From the very beginning, Mark starts going insane, obsessed with Catcher in the Rye, and thinks that he must murder John Lennon because he’s a fraud and a hypocrite. Not much interesting happens in the events before the December 8th, 1980 murder. He purchases a handgun and gets defensive with a fan who waits for John and Yoko outside their Manhattan apartment building. Writer/director Andrew Piddington includes stylish cinematography, lighting and editing designs, but at its core, there’s not enough character development or insight. The title of the film already gives away what happens in the third act, so there’s very little suspense. What would have been much more compelling is if Piddington focused more on Mark Chapman’s psychological evaluations and on his prison time rather than cramming all those scenes into barely 10 minutes. On a positive note, Jonas Ball gives a decent performance as the lead, which at least keeping you mildly engaged by an otherwise ho-hum, underwhelming film. Number of times I checked my watch: 6. Entertainment Value: Moderate. Spiritual Value: Low. Released by IFC First Take. Opens at the IFC Center.

Neal (Aaron Stanford) lives with his artsy girlfriend, Miss Pussy (Zooey Deschanel), while managing a cereal shop, Flakes, in New Orleans (pre-Katrina). His plans to become famous rock star are thwarted when Stuart (Keir O’Donnell) opens up a rival cereal shop across from Flakes. Despite a refreshing and somewhat imaginative plot, it takes a while to get used to its lazy, offbeat atmosphere and bizarre turn of events. Once you realize that the loose plot doesn’t really take itself or its characters too seriously, you’ll be able to mildly enjoy it. Christopher Lloyd adds some brief comic relief as the senile owner of Flakes who goes a bit cuckoo. At times, writer/director Michael Lehmann includes very witty dialogue with a Clerks vibe, but without all the profanity. The scenes with Neal and Miss Pussy interacting at home are the only ones that really drag because their chemistry doesn’t feel palpable and there’s nothing interesting or insightful about all their bickering. Fortunately, the quirky scenes in the cereal shop add pizzazz and somewhat compensate for the sporadic dullness and lags throughout the film’s momentum. Entertainment Value: Highly Moderate. Spiritual Value: None, as long as you suspend your disbelief and check your brain at the door. Released by IFC First Take. Opens at the IFC Center.

Nancy (Grabrielle Union), recently divorced from a rapper (Charlie Murphy), falls in love Benjamin (Morris Chestnut), a shopping mall Santa Claus. Nancy’s three children don’t accept Benjamin too easily into the family, so cue the many juvenile pranks that belong is movies like Daddy Day Camp. Queen Latifah plays the narrator who appears a variety of small roles to add some magic along with he assistant (Terrence Howard). Writer/director Lance Rivera has written a bland, contrived, unimaginative Christmas-themed movie that has no spirit, soul or warmth. The vast majority of the attempts at humor simply fall flat from poor comic timing and silliness. Both Nancy and Benjamin do seem appealing, but they’re not even remotely believable and too cardboard as characters. Ultimately, The Perfect Holiday makes This Christmas look like the Citizen Kane of Christmas movies. Number of times I checked my watch: 7. Entertainment Value: Moderate. Spiritual Value: Low. Released by Yari Film Group.

In English, Japanese and Mandarin with subtitles. Nanking documents the rape of Nanking, when Japanese forces raped 20,000 Chinese and killed a total of 200,000 between 1937 and 1938 during WWII. Those who don’t know about this important part of the history of Nanking, which was the capitol of China back then, will be shocked and saddened to learn that the Chinese had their own holocaust during World War II. Co-directors Bill Guttentag and Dan Sturman do a great job of show the horrors of Nanking through photos as well as interviews with the survivors, who break down in tears. Some images are difficult to watch because of their emotional impact. Actors and actresses such as Muriel Hemmingway read the accounts of those who saved many lives and who are now remembered as heroes. This profoundly moving, unforgettable, important film deserves to be nominated for Best Documentary at the Academy Awards. Entertainment Value: High. Spiritual Value: Very high. Released by THINKfilm.

This thoroughly compelling documentary follows Billy, a 15-year-old living in a small town in Maine who alienated from the popular kids in his high school, especially given his behavioral problems. He’s far from shy, though, and casually flirts with a nice girl named Heather who works at a local diner. Soon enough, he asks her to be his first girlfriend while some townspeople cheer him on in the distance. He claims that Heather has “murdered his many years of loneliness.” It’s also quite interesting to watch his relationship with his loving mother and how the abuse of his father affects him now. Director Jennifer Venditti does a terrific job of capturing the essence of who Billy is as a human being. The camera serves as a mere observer at times while other times as some sort of a therapist or a good friend who listens to him. In a moving scene that many people will be able to relate to, he admits to being insecure and fragile on the inside despite his tougher outer shell. Although there’s much more to him than meets the eye, he’s still quite wise and very funny, especially since he often express his philosophies in “bumper sticker”. Have you ever felt the excitement, nervousness and confusion of growing up? Well, Billy goes through each and every one of those universal emotions throughout this funny, charming and profound documentary. Number of times I checked my watch: 0 Entertainment Value: High. Spiritual Value:Very High. Released by Elephant Eye Films. Opens at the IFC Center.

In Spanish with subtitles. Military forces occupy a small Mexican village where three generations of musicians live: violinist Don Plutarco (Ángel Tavira), his guitarist son Genaro (Gerardo Taracena), and his grandson Lucio (Mario Garibaldi). Don Plutarco befriends some of the soldiers through his beautiful music, which serves both as a means of entertaining them and escaping from their brutal torture, shown briefly during the opening scenes. Writer/director Francisco Vargas builds the plot very gradually and fills it with moments that feel almost documentary-like. The exquisite black-and-white cinematography gives it a certain timelessness and grittiness that wouldn’t have been accomplished with the use of color. Despite scenes that drag from very little happening and minimal dialogue, the beautiful imagery and a strong performance by the charismatic Ángel Tavira help to keep you at least mildly entranced. Number of times I checked my watch: 2. Entertainment Value: Moderately High. Spiritual Value: Moderate. Released by Film Movement. Opens at the Film Forum..

Philip Seymour Hoffman and Laura Linney star as John and Wendy Savage, siblings who go through a mid-life crises when they put their father, Lenny (Philip Bosco), away at a nursing home. Neither Jon nor Wendy has established a healthy romantic life—Jon’s girlfriend goes back to her native country when her visa expires before he can propose to her. Meanwhile, Wendy has sexual relations with a married man. Writer/director Tamara Jenkins wisely brings out the flaws in these characters which helps to make them seem more true-to-life, although not particularly likable—especially Wendy. She also includes some awkward moments of comic relief every now and then, but, for the most part, the tone of the film is somewhat serious and bitter. Occasionally, some of the attempts to add more drama feel forced and there aren’t any real surprises or profound insights. Both Philip Seymour Hoffman and Laura Linney, fortunately, give two very strong performances which help to keep you at least mildly engrossed in the film. Number of times I checked my watch: 2. Entertainment Value: Moderate. Spiritual Value: Moderate. Released by Fox Searchlight Pictures. Opens at the Angelika Film Center and Lincoln Plaza Cinemas.

How does one describe a movie that’s virtually indescribable? It has something to do with an actor (Dwayne “The Rock” Johnson) suffering from amnesia who hooks up with a porn star (Sarah Michelle Gellar), befriends a cop (Seann William Scott) and, among other things, tries to save California from an imminent nuclear attack. Miranda Richardson gives a delightfully campy performance as the smarmy head of a powerful technology company. It’s fun to list the rest of the ensemble cast which includes Mandy Moore, Justin Timberlake, Cheri Oteri, Christopher Lambert, John Lovitz and Bai Ling. Writer/director Richard Kelly combines the genres of comedy, sci-fi, drama, romance, action, mystery and satire all into one confusing, twisted and unpredictable plot. Even fans of Richard Kelly’s cult classic Donnie Darko will be scratching their heads just trying to make sense of the plot. The best way to enjoy this bizarre mess as guilty pleasure is to experience it as a midnight movie where the audience laughs at the movie rather than with the movie or to imagine Plan 9 From Outer Space with decent acting and nifty special effects. With a running time of 144 minutes, Southland Tales does tend to overstay its welcome. If you’re interested in a shorter and much less nauseating, unpredictable and strange film, rent the underrated, black-and-white, sci-fi musical western called The American Astronaut. Number of times I checked my watch: 9. Entertainment Value: Moderate. Spiritual Value: None is required or desired. Released by Samuel Goldwyn Films. Opens at Angelika Film Center, AMC/Loews 19th St., Clearview 1st & 62nd and AMC Empire 25..

This “documentary” about the band Electric Apricot on their way to perform at the music festival, Festeroo, can be compared to Christopher Guest’s “documentary”, This is Spinal Tap on its surface, but it lacks in most important area: the humor department. The scenes that do generate mild humor are the ones that really satirize musician in an over-the-top, outrageous way—like how hairy one of the musicians looks and how absurd their nickname is, such as “Aiwass”. Director Les Claypool simply doesn’t push the envelope far enough, so the remaining scenes feel bland and unfunny. Please note that there’s an additional scene after the end credits. Number of times I checked my watch: 8. Entertainment Value: Low. Spiritual Value: None is required or desired. Released by National Lampoon. Opens at the Two Boots Pioneer Theater.

Note by Note: The Making of the Steinway L1037-Directed by Ben Niles. If you’ve ever wondered about the construction of a piano, this somewhat dull documentary will keep you at least mildly engaged. Workers in Steinway’s Queens factory carefully assemble each piece of the L1037 concert piano by hand—a process that takes almost an entire year. Watching all the different stages of assembly feels more and more tedious and the interviews with the workers and some pianists don’t really add much in terms of insight. Director Ben Niles includes two interesting points, but fails to explore them enough: one, that Steinway pianos are handcrafted unlike pianos from other companies which are machine-crafted and, two, that the demand for pianos has gone significantly down throughout the years, which has lowered the number of piano companies. Like the documentary Helvetica about the type font Helvetica , Note by Note ultimately feels much ado about nothing even though it could have been compelling with much more depth so that you would come out of it gaining some true insight. Directed by Ben Niles. Number of times I checked my watch: 6. Entertainment Value: Moderate. Spiritual Value: Moderate. Released by Plow Productions. Opens at the Film Forum.

This documentary offers a small, mildly fascinating glimpse into the life of fashion designer Karl Lagerfeld. The title deceptively implies hints that you’ll be getting some kind of juicy secret about him that you wouldn’t be able to find out by searching on Google. Rather, director Rodolphe Marconi follows him around during fashion shoots around the world and briefly interviews him about his past and his overall philosophy of life—which is basically that he doesn’t want to psychoanalyze things too much. It’s not surprising that he likes being alone some of the time just to unwind—many people feel that way. Some of the remarks he makes shows off his offbeat, lively personality, which adds to the entertainment value. However, what’s missing is enriching information about his rise to fame (which would help those unfamiliar with him or his work) and deeper, more revealing insight as to what really makes him tick from day to day. Number of times I checked my watch: 3. Entertainment Value: Moderate. Spiritual Value: Moderate. Released by Koch Lorber Films. Opens at the Film Forum

John Malkovich plays Gustav Klimt, an Austrian artist who sought artistic freedom while falling in love with his muse, Léa de Castro (Saffron Burrows). There’s very little to savor in this insipid biopic other than the exquisite costume and set designs which look authentically like Paris in 1900. John Malkovich appears to be sleepwalking through his role here, but, to add insult-to-injury, writer/director Raúl Ruiz gives very little insight into the mind of his character—many times, Klimt’s action seem random or simply unremarkable. The often incoherent plot goes around in circles without any memorable moments or believable ones, for that matter. There’s even some unintentional humor when some characters randomly start yelling and pounding at the dinner table before an awkward cut to another scene. Perhaps a documentary about Klimt would have been much more interesting or at least a more coherent biopic that does justice to the artist. Number of times I checked my watch: 9. Entertainment Value: Low. Spiritual Value: Unfortunately, none. Released by Outsider Pictures. Opens at the IFC Center.

Bobby (JJ Field), a Jew, and Saïd (Saïd Taghmaoui), his Arab friend, join opposite side of the war of independence to control Jerusalem in 1948. Despite decent performances by Ian Holm as Ben Gurion and, Tova Felshuh, in a supporting role as Golda Meir, too many contrived scenes bog down the by-the-numbers plot. Co-writer/director Eli Chouraqui fails to bring any of the characters to life and important war scenes toward the end seem maudlin. Weak character development makes you feel detached and unengaged. If only such an important moment in the history of Israel could have been handled with more sensitivity to the way people interact and behave rather than focusing on the mechanics of the plot, this could have been a much more powerful film. Based on the novel by Larry Collins. Number of times I checked my watch: 6. Entertainment Value: Moderate. Spiritual Value: Low. Released by Samuel Goldwyn Films. Opens at the Village East Theater.

Ian Curtis (Sam Riley), the lead singer of the band Joy Division in the 1970s, suffers mental and physical health problems until his suicide at the age of 23 in 1980. His relationship with his wife, Deborah (Samantha Morton), gradually deteriorates as well. Sam Riley delivers a raw, electrifying performance as Ian Curtis. Equally impressive is Samantha Morton’s performance as his wife who loses her grip on him which further drives him into depression. He even tries to pop some pills prescribed by a psychiatrist, but they don’t help. Writer/director Anton Corbijn wisely includes organic dialogue along with a slow pace which helps to heighten the realism. The use of black-and-white cinematography gives the film a rougher texture and visual quality. Although not as exhilarating and unforgettable as the biopic La Vie en Rose about Edith Piaf, Control at least manages to be deeply absorbing. Number of times I checked my watch: 0. Entertainment Value: High. Spiritual Value: High. Released by The Weinstein Company. Opens at the Film Forum.

In this “documentary” based on the Broadway play of the same name, Valerie Harper plays Golda Meir, the first and only female Prime Minister of Israel. Her decisions saved Israel during the Yom Kippur War when Egyptian troops threatened to destroy Israel. Not only does Harper play Golda, but also ambitiously plays every other important person interacting with Golda during those times, such as Moshe Dayan, Henry Kissinger, her mother and even her husband. These other performances fail to be believable, especially since her face and hair doesn’t change enough to be distinguishable—other than the clothes and, ever so slightly, her voice. Director Jeremy Kagan awkwardly weaves unremarkable background visuals while Golda merely interacts. It all seems underwhelming and dull, unlike the hit Broadway play. Ultimately, Golda’s Balcony would have worked better either as a mere documentary or with other, more distinguishable actors in the other roles. Number of times I checked my watch: 8. Entertainment Value: Moderate. Spiritual Value: Unfortunately, none. Released by AV Productions. Opens at the Quad Cinema.

Whether or not you’re a fan of Kurt Cobain, this profoundly absorbing and revealing documentary will hold your attention from start to finish. Director AJ Schnack uses never-before-publicized audio interviews between journalist Michael Azerrad and Kurt Cobain while incorporating breathtaking visuals to accompany his voice. Despite that Cobain’s face isn’t shown during the interviews, it’s amazing how Schnack manages to humanize him as if Cobain were talking to the audience. Listening to Cobain discuss his troubled beginnings, as he gradually rose to fame in the band Nirvana, could have been tedious and dull, but instead comes across as lively, surprisingly insightful and, most importantly, honest. Such a rare glimpse into the mind of a music legend feels like a breath of fresh air. Number of times I checked my watch: 0. Entertainment Value: Very High. Spiritual Value: High. Released by Balcony Releasing. Opens at the IFC Center.

Ruth (Blanche Baker) and her sons sadistically torture Meg (Blythe Auffarth), her 16-year-old niece. Based on a true story. Blanche Baker gives an appropriately bitchy performance as the main torturer, Ruth, but that doesn’t help to enliven the unimaginative plot which lacks suspense. Of course, Meg happens to be good friends with one of the young torturers, namely Daniel (David Manche), a friend of Ruth’s sons, while she’s trapped in the basement. After all the “torture porn” films such as the Saw franchise or Captivity, this disturbing thriller treads chartered territory with no real surprises. It would have been much more interesting if co-writers Daniel Farrands and Philip Nutman would not reveal the perpetrators’ identities or at least they could have given them more of a motive other than the clichéd glee of torturing others. Production values help to create some creepiness, especially through the set design and editing, but the weak script fails to keep you thoroughly immersed in the by-the-numbers story. Number of times I checked my watch: 3. Entertainment Value: Moderate. Spiritual Value: None is required or desired. Released by Modernciné. Opens at the Two Boots Pioneer Theater.

Three brothers, Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman) bond while on a train in India. This opening night film of the New York film Festival often aims for offbeat comedy, but ends up more as a bland drama with unlikable characters. Much of the dialogue lacks wit and too many scenes drag from lack of any real momentum—either from the plot or characters. Co-writer/director Wes Anderson includes too many underdeveloped subplots and randomness which could work if handled right, but, in this case, it just feels awkward and, worst of all, boring. Jack’s brief romance with a stewardess (Amara Karan) feels contrived and an important scene with the brothers’ mother (Anjelica Huston) lacks any much-needed poignancy. The Darjeeling Limited ultimately works better as a travelogue of India, but The Namesake already treaded those waters with much more finesse. At the NY Film Festival this is preceded by the similarly unfunny short film Hotel Chevalier, which shows the sexual relationship between Jack and his ex-girlfriend (Natalie Portman). Number of times I checked my watch: 8. Entertainment Value: Low. Spiritual Value: Low. Released by Fox Searchlight Pictures.

This intriguing and informative film documents the consequences of three communities that banished African Americans from their homes back in 1901. In both a moral and ethical sense, those whose property were taken from their family because of racism in the early 20th Century ought to get it back or at least to get some monetary compensation. Director Marco Williams comes across the legal term of “adverse possession” which means that the property belongs to the owner who has lived there for a long period of time even if he/she has stolen it. It’s quite intriguing and moving when an African American tries to dig up an unmarked grave to find evidence of his great-grandfather’s remains. Within that town and others, Williams finds racism when he meets the townspeople who have no shame admitting that they chose to live there because it’s an all-white town. Opens at the Film Forum.

A team working to extract oil from the Arctic National Wildlife Refuge encounters a strange, supernatural entity. Ed (Ron Perlman) leads the team on their mission and doubts the severity of the situation, even when one of their team members mysteriously dies. James (James LeGros), an environmental expert, along with Abby (Connie Britton) both warn their team of the hazardous dangers of global warming in the Arctic and, so, they’re not so surprised when weather conditions worsen. Co-writer/director Larry Fessenden creates an eerie, foreboding atmosphere which generates a few chills, especially given the isolated setting in the Arctic. He gradually builds tension, but, unfortunately, the plot loses its momentum and imagination later in the second act as the team continues to struggle and figure out what’s going on. The third act feels tacked-on and over-the-top. The Thing, by John Carpenter, treads the same waters which much more success. Entertainment Value: Moderate. Spiritual Value: None is required or desired. Released by IFC First Take. Opens at the IFC Center.

As a documentary about the Pere-Lachaise cemetery in Paris, France, where tourists from all over the world visit the graves of famous artists, this feels surprisingly enchanting, lively and insightful. The tourists discuss how a wide variety of artists, whose grave they visit, inspire them. These artists include Choping, Proust and Jim Morrison as well as others such as Yves Montand. Everyone seems to be affected by art in a certain way—even an embalmer whose passion for Modigliani’s paintings inspires his own work on dead people. Director Heddy Honigmann certainly loves the art world and, through fascinating interviews with art-lovers, shows that an artist’s life is eternal because of the precious work that they leave behind. It’s also worth mentioning that Honigmann films in 35mm with some breathtaking cinematography. Entertainment Value: High. Spiritual Value: High. Released by First Run/Icarus. Opens at the Film Forum.

This documentary about the evolution of the typeface Helvetica should mainly appeal to those interested in design. Most people take fonts for granted, but typographers focus their attention to it as it were the most important part of life—in fact, one typographer hilariously admits that he has a fetish for reading Helvetica fonts like some men have fetish for women’s bottoms or other typical fetishes. Director Gary Hustwit does a decent job of tracing the history of Helvetica from its initiation in Switzerland until advertisers became tired of it and switched to fancier or quirkier type face; Helvetica, on the other hands, is simpler and easier to read, but very impersonal. Despite all the debate whether or not Helvetica has value any more, Helvetica ultimately feels like much ado about nothing. Entertainment Value: Moderate. Spiritual Value: Low. Released by Plexifilm. Opens at the IFC Center.

During the late 1800s, Dan Evans (Christian Bale) a poor family man, captures Ben Wade (Russell Crowe), an infamous outlaw, and must bring him onto a train in Yuma to collect his bounty. Meanwhile, Ben’s gang of murderous thieves try to save him. This exciting remake of the 1957 film works very well on all levels including solid performances by Bale and Crowe and an impressively-written script. Fortunately, there aren’t any awkward moments or unnecessary subplots—once the plot picks up its momentum, it never loses it. The characters of Ben and Dan are both complex and interesting enough for you to care about them. In no way is Ben a predictable kind of villain; he actually has a heart. With so many thrills, breathtaking scenery, and relentless suspense, 3:10 to Yuma just may reinvigorate the genre of Westerns. Entertainment Value: High. Spiritual Value: Moderate. Released by Lionsgate.

Dean (Will Forte) and John (Will Arnett), two brothers, search for a woman to have a baby with so that their dying father (Lee Majors) could get his wish granted. If only hilarity could ensue, but, instead, what you get is a series of either creepy, juvenile or toilet humor that gets old very quickly. It makes no sense why Janine (Kristen Wiig) would even remotely consent to having their baby, especially because they act so immature, stupid and just plain annoying. Will Arnett does a poor job of trying to channel Jim Carrey while Will Forte simply has poor comic timing. As the plot gets more and more ludicrous, you’ll yearn for much funnier sex comedies such as There’s Something About Mary. Entertainment Value: Low. Spiritual Value: None is required or desired. Released by TriStar Pictures.

Mr.Bean (Rowan Atkinson) wins a trip to Cannes, but, along the way, accidentally separates a young boy (Max Baldry) and his father, who happens to be one of the judges at the Cannes Film Festival. Throughout his adventures with the boy, he also crosses paths with Carson Clay (Willem Dafoe), a smarmy film director and an actress (Emma de Caunes) from his movie "Playback Time", which happens to be debuting at the film festival. The humor here is geared much more for kids, but, even so, the plot has too many long patches where nothing remotely funny happens and, on top of that, the gags happen too quickly. If you're seen the trailer, you've already seen the majority of the slightly laugh-inducing scenes. The brief appearances of Willem Dafoe and Jean Rochefort, as a waiter, barely help to add some liveliness. Director Steve Bendelack has simply turned Mr.Bean into a creepy, retarded character, which seems very different from the Mr.Bean character on the TV show. On a positive note, the film-within-the-film, Playback Time, actually looks more refreshing and funnier than this bland sequel. Entertainment Value: Low, Spiritual Value: None is required or desired. Released by Universal Pictures

Erik(Josh Hartnett), a sports reporter, meets a homeless man (Samuel L. Jackson), who may or may not be a boxing legend. Alan Alda plays his editor. This character-driven drama may not be as riveting or intense as the somewhat similar Shattered Glass and it takes it time to become truly engaging, but at least it boasts terrific performances all-around from Sam Jackson, Alan Alda and even Josh Hartnett. Fortunately, co-writers Michael Bortman and Allison Burnett include a rich character development and dialogue that feels organic. Some scenes, especially toward the end, are surprisingly tender and heartwarming. Entertainment Value: High, Spiritual Value: Moderate. Released by Yari Film Group.

Chaos ensues when a family gathers together for a funeral. Attending the funeral are Daniel (Matthew Macfadyen) and his wife Jane (Keeley Hawes) along with his brother, Simon (Alan Tudyk), who accidentally gets high on LSD during the funeral. Scene-stealing Peter Dinklage plays a midget who has a very revealing secret to share. The imaginative screenplay by Dean Craig delicately balances the uproariously comedic moments with just the right amount of drama so that you're thoroughly entertained. The terrific ensemble cast brings plenty of comic energy and have a lot of fun in their roles as will you while watching Death at a Funeral, the most wickedly hilarious, crowd-pleasing British comedy since Four Weddings and a Funeral. Entertainment Value: Very “High” (pun intended) Spiritual Value: None is required or desired. Released by MGM.

Charlie (Cuba Gooding, Jr.) and Phil (Paul Rae) struggle to run a day camp with campers who run amok. Meanwhile, they compete with a neighboring camp run by Lance (Lochlyn Munro) Watching actors, such as Cuba Gooding, Jr., humiliate themselves in dumb, silly roles with unfunny dialogue simply feels painful to watch and to listen to. Cuba hasn't learned to turn down bad scripts after the equally awful movie Boat Trip from 2002. Director Fred Savage, who had once starred in "The Wonder Years" TV series, fills the movie with lots of toilet humor, stupidity, and, of course, annoying kids. Also, the competing camp has a very unappealing, uncreative name: Camp Canola--not a particularly intimidating name, either. This unnecessary sequel to Daddy Day Care should have either went direct-to-DVD or been animated or, better yet, turned into a silent movie. Entertainment Value: None, Spiritual Value: None is required or desired. Released by TriStar Pictures.

To avoid jail-time after his involvement in a gang fight that kills his brother, DJ (Columbus Short) enrolls in Truth University where he shows off his street dancing moves in feud between two fraternities. Meanwhile, he tries to win over April (Meagan Good), a beautiful girl who happens to be dating Grant (Darrin Dewitt Henson), a smarmy frat guy. The many dramatic scenes feel contrived and melodramatic while the budding romance between DJ and April lacks chemistry. The screenplay by Robert Adetuyi uses all the clichés in the book without including any real surprises or refreshing scenes other than the dance sequences which add some much-needed energy to the dull, stale plot. Drumline, You Got Served and even the recent Step Up were more entertaining and slightly less convoluted and contrived. Entertainment Value: Moderate. Spiritual Value: Low. Released by Screen Gems.

While the wizard (voice of George Carlin) goes on vacation from Fairy Tale Land, Ella (voice of Sarah Michelle Gellar) enters a love triangle with a prince (voice of Patrick Warburton) and Rick (voice of Freddy Prince, Jr.), a royal servant. Meanwhile, Ella's wicked stepmother, Frieda (voice of Sigourney Weaver) gets ahold of the wizard's magic staff and brings evil into Fairy Tale Land. In his CGI-animated film, the humor falls flat and the poor comic timing only makes things worse, much unlike in last year's hilarious Hoodwinked!. In this case, none of the characters are lively enough, although the duo Mambo (voice of Andy Dick) and Munk (voice of Wallace Shawn) come close. Even the animation itself is a bit below par with faces that lack emotion and very dull backgrounds. Ultimately, this could have been so much funnier and entertaining with a sharper screenplay by screenwriter Robert Moreland. Even at a running time of 85 minutes, it still manages to drag. Entertainment Value: Low. Spiritual Value: None is required or desired. Released by Lionsgate.

Codename: The Cleaner.

- Directed by Les Mayfield

Cedric The Entertainer stars as Jake, a janitor who suffers from amnesia and believes he's undercover agent. Fans of Cedric The Entertainer will enjoy this movie and somewhat forgive it for its stupid, silly, implausible plot. Everyone else will be frustrated by the reptitive, forced humor and annoyed by Cedric's over-the-top performance. Lucy Liu co-stars as Jake's girlfriend, but doesn't have enough material to show her comedic skills like she did in Charlie's Angels. Sadly, even the outtakes don't redeem the shortage of laughs. Entertainment Value: Low. Spiritual Value: None is required or desired. Released by New Line Cinema.

Different people react to the murder of Krista (Brittany Murphy) including her mother, Melora (Marcia Gay Harden), Ruth (Mary Beth Hurt), a mother who discovers evidence that her son killed Krista, and Arden (Toni Collette) who discovers Krista's body. Despite strong performances from Marcia Gay Harden, Toni Collete and Mary Beth Hurt, the script doesn't flesh out any of the characters enough for you to care about them. The shifts in chronology after each vignette causes confusion and it's rather disappointing that the different characters don't actually come together, as if they were each in their own separate movies. If you're looking for a truly haunting, well-written film which also deals with how people react to the discovery of a dead girl's body, rent the underrated River's Edge. Entertainment Value: Moderate. Spiritual Value: Low. Released by First Look Pictures. Opens at the Angelika Film Center. Please check out the following interviews:

Attilio (Benigni), a poet, travels to war-torn Iraq to rescue the woman he loves, Vittoria (Nicoletta Braschi). Too many scenes feel unfocused with awkwardly stilted dialogue. As usual, Benigni also casts his real wife, the radiant Nicoletta Braschi. The intentionally surreal scenes come across as rather silly and cheesy. Jean Reno doesn't have much to do in the role of Faud, an Arabic poet who Vittoria interviews in Iraq. Unfortunately, much of the film lacks the charm, humor and wit of Begigni's classic Life is Beautiful, which he also wrote/directed and starred in. Entertainment Value: Low. Spiritual Value: Low. Released by Strand Releasing. Opens at the Quad Cinema.

December 27th, 2006

Notes on a Scandal- Directed by Richard Eyre.

Sheba (Cate Blanchett), a high school teacher, confides in Barbara (Judi Dench), a colleague and neighbor who witnesses her secret affair with one of her students, Steven (Andrew Simpson). Mesmerizing! A superbly-crafted film. Thoroughly absorbing and grips you from the start. The musical score by Phillip Glass adds even more tension. Judi Dench and Cate Blanchett give Oscar-worthy performances. Based on the novel by Zoe Heller. Entertainment Value: High. Spiritual Value: Moderate. Released by Fox Searchlight Pictures. Please check out the following interviews with the cast and crew:

During the 18th Century, Jean-Baptiste Grenouille (Ben Whishaw), a young man with a strong sense of smell, murders women to collect their odor and create the world's most powerful fragrance with Giuseppi Baldini (Dustin Hoffman) as his mentor. Antoine Richis (Alan Rickman) investigates the serial killings to prevent his daughter (Rachel Hurd-Wood) from being the next victim. Based on the novel by Patrick Suskind. A dark, creepy film which occasionally feels tedious, unfocused and somewhat lacks suspense given that the audience knows who the killer is from the very beginning. Yet, it's mildly compelling with lush cinematography and terrific set/costume design. Dustin Hoffman's brief scenes are quite refreshing. Entertainment Value: Moderate. Spiritual Value: Moderate. Released by Paramount Pictures. Please check out the following interviews:

In the year 2027, when procreation is strictly prohibited, Theo (Owen), a peace activist, embarks on a mission to save Kee (Ashitey), a pregnant black woman. A provocative and fascinating premise, but none of the characters are truly memorable because of a weak script by 5 different writers including Alfonso Cuarón. The screenplay simply doesn't allow for any of the actors to truly shine, even Michael Caine and Julianne Moore who have small roles. Cuarón does a decent job of creating a grim, dull futuristic world, but it's not as imaginative as it could have been. But why must all of the characters be dull as well? Much of the film is reminiscent of the underrated film Equilibrium, but with less surprises. Entertainment Value: Moderate. Spiritual Value: Moderate. Released by Universal Pictures.

When the plane carrying the Marshall University football team, coaches and fans crashes, Jack Lengyel (Matthew McConaughey) tries to keep the program alive. Despite the opening title card of "This is a true story", the plot feels to contrived and the characters too clichéd and cardboard for you to truly care about them. Only football fans familiar with that event in 1970 will be engrossed and, perhaps, brought to tears by some scenes. Everyone else, unfortunately, will be bored, especially after sitting through the lengthy running time of 2 hours and 4 minutes. Entertainment Value: Low. Spiritual Value: Moderate. Released by Warner Brothers Pictures.

The Good Shepherd-Directed by Robert De Niro.

When Edward (Matt Damon) joins a secret society, Skull and Bones, as well as the OSS which threatens his marriage to Clover (Angelina Jolie). This is supposed to be the story of how the CIA's origins, but that doesn't help to make it entertaining. Perhaps director Robert De Niro was drunk while he filmed this movie because the camera changes angles so many times that it feels nauseating. Moreover, the plot jumps back and forth between so many different time periods without aging the characters well at all. The performance range from bland to unintentionally funny—such as Edward's young son who gives evil glances as if her were the kid from The Omen. With silly drama, barely any action and a running time of 2 hours and 40 minutes, this is a very disappointing film given its potential. Entertainment Value: Low, Spiritual Value: None. Released by Universal Pictures.

December 21st, 2006

Venus- Directed by Roger Michell.

Peter O'Toole shines in an Oscar-worthy performance as Maurice, an aging actor who develops a special friendship with Jessie (Jodie Whittaker), a beautiful young girl. Screenwriter Hanif Kureishi deftly combines drama with a little hint of comedy which makes for a very absorbing and poignant film. Vanessa Redgrave and Richard Griffiths are terrific in supporting roles. Entertainment Value: High. Spiritual Value: Moderate. Released by Miramax Films. Opens at City Cinemas 1,2,3 and Lincoln Plaza Cinemas. Interview with writer Hanif Kureishi

Curse of the Golden Flower- Directed by Zhang Yimou.

In Mandarin with subtitles. During the Tang Dynasty, Empress Phoenix (Gong Li) has an affair with her step-son (Liu Ye) who wants to run off with Chan (Li Man) while the Emperor (Chow Yun Fat) hires Chan's father (Ni Dahong) to poisen the Empress. Those who expect exhilirating visuals like in Zhang Yimou's House of Flying Daggers or a moving story like in his recent film, Riding Alone for Thousands of Miles, will be very disappointed. The set and costume design look colorful and beautiful, but the few action scenes are headache-inducing and the dramatic scenes feel dull and contrived. It overstays its welcome at a running time of 118 minutes. Entertainment Value: Low. Spiritual Value: None. Released by Sony Pictures Classics. Opens at AMC Empire 25, Sony Lincoln Square, AMC/Loews 72nd St. and Regal Union Square.